The Use of Music in Learning Languages

Music and Language 1 Running head: THE USE OF MUSIC FOR LEARNING LANGUAGES: A REVIEW The Use of Music for Learning Languages: A Review of the Literature Jon Weatherford Stansell University of Illinois at Urbana-Champaign Updated September 14, 2005 Music and Language 2 Abstract Throughout time, healers, philosophers, scientists, and teachers have recognized the place of music for therapeutic and developmental functions (Bancroft 3-7). Researchers over the last twenty years have made astounding advances in the theory of language acquisition. Many find the pedagogical conjoining of language and music compelling. The first part of this review focuses on the historical and developmental proofs of music's relationship with language learning. In part two, neurological theory on music and the mind are covered. Part three summarizes scholarly inquiry on the use of music for learning languages, especially those studies that could prove most instructive both for language teachers and for music therapists in the development of curricula. Music and Language 3 The Use of Music for Learning Languages: A Review of the Literature Described in the earliest cultural records, enacted throughout the development of infants, evidenced from cognitive scientists, and utilized by innovative teachers and therapists, the deep and profound relationship between music and language supports their discriminate, concurrent use to improve outcomes for language acquisition. Melodic recognition, contour processing, timbre discrimination, rhythm, tonality, prediction, and perception of the sight, sound, and form of symbols in context are required in both music and language. Like supportive sisters, they comprise "separate, though complimentary systems of structured communication... language primarily responsible for content and music evoking emotion” (Jourdain 293). Music positively affects language accent, memory, and grammar as well as mood, enjoyment, and motivation. Language teachers and music therapists alike should encourage the conjoined study of these natural partners, because communicating through a musical medium benefits everyone. Music Pervades Life: Therapy, Development, and Learning Throughout time and in all areas of the world, music‟s universal presence asserts its importance. W. Jane Bancroft presents an impressive litany of historical music therapists, including tribal shamans, Egyptian priest-physicians, the biblical David, Pythagoras, Aristotle, and Plato (Bancroft 4-5). She asserts, "In every part of the ancient world, music and musical instruments served magical or 'therapeutic' purposes rather than aesthetic ones” (Bancroft 4). Plato believed that "musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten... making the soul of him who is rightly educated graceful” (Jowett 271). He took the concept of physical healing a step further, in the holistic manner common to the Greeks, advocating the Music and Language 4 learning outcome of correct education as a graceful soul. As if bringing grace to the soul was not enough, music also embraced language and movement. In The Greek View of Life, G. Lowes Dickinson defines mousikas, from which our word "music" derives, as an "intimate union of melody, verse, and dance” (217). The Greek concept of mousikas was much more inclusive than ours. Music implied language, Plato himself considering a tune without words a "sign of a want of true artistic taste." Language uniquely enabled the Greek listener "to distinguish the exact character of the mood which the rhythm and tune is supposed to represent” (Dickinson 217). Plato expected language in a musical context, but he did not write about the music inside language. For insight into this, one must look to the Greek myths. The word mousikas means "from the muses," and understanding the origins of the muses shows how they understood music's role in the development of linguistic genres. Thomas Bullfinch's Mythology describes the Muses' birth to Mnemosyne, one of the Titans, original rulers of the mythic universe (Bullfinch 22). Mnemosyne's main concern was the human memory, a primal dominion as important to the ancient Greeks as the sea and sky. Her daughters, the nine Muses, presided over song and prompted the memory. Seven of these divine beings used their "music" to inspire language, including the spoken genres of epic poetry, lyric poetry, sacred poetry, love poetry, comedy, tragedy, and history (Bullfinch 22). The eighth focused on, of all things, astronomy, and the last Muse did something different; through her "music," mortals became inspired not only to choral song but also to dance (Bullfinch 22). Each originating from these sisters of inspiration, the arts of poetry, tragedy, song, and dance comprised the classic Greek theatre. With music and language, the drama and dance of life can occur. The section on human development that follows will echo this powerful metaphor as it discusses the dual processes of language and music learning. Music and Language 5 W. Jane Bancroft references Apollo and Dionysus, both of whom used music. These two, one the wise physician to the gods, and other a sensual corruptor of mortals, represent the modern therapeutic uses of music either "to assuage and soothe" or "to arouse and energize” (Bancroft 4). Music therapists utilize both types of music in clinical situations to relieve many kinds of psychological and physical stressors. Linguistic inadequacies resulting from trauma or delay often benefit from music therapy. Likewise, language students that lack familiarity with a target culture and have trouble expressing themselves can connect through the freeing influence of music. In these cases, the goals of the teacher closely resonate with those of the music therapist. Meaningful communication is a multimodal construct, a large part of which is musical. Spanish music therapist Patxi Del Campo (1997) asserts, “In any oral interaction only 15% of the information corresponds to verbal language, while 70% of the message is performed through body language; the final 15% belongs to intonation, the musical character of language” (as cited in Mora, p.147). Although this ratio likely varies depending on the exact nature of the language task, interlocutors, and intentions, by drawing oral interaction in such a light, Del Campo evokes the three classical elements of mousikas, melody (intonation), verse (words), and dance (body language). This suggests that face-to-face interaction is as much a musical call-and-response as an exchange of words. Moreover, it could be more precise to classify it as a type of dance with musical and linguistic aspects that add expressive or concrete details. The elements of movement, language, and song are also developmentally connected. Dr. Alfred Tomatis asserted that the ear's integration of information from sound and motor movements is crucial to the early nervous system. From aural input, an infant develops not only sound perception, location, and discrimination, but also the physical movements of verticality Music and Language 6 and laterality, as well as language. Dr. Tomatis also described fetal and infant orientation to the melody contours of their native language, recognizing the mother's voice (as cited in Thompson and Andrews, 181-182). The pre-existing patterns of music in the early development of language prove that the two are already long acquainted. Through its mother's body, womb, and amniotic fluid, a fetus cannot hear consonants; it only hears the musical vowel sounds. Carmen F. Mora claims, Discourse intonation, the ordering of pitched sounds made by a human voice, is the first thing we learn when we are acquiring a language. Later on, it is through interaction that a child picks up not only the musicality of each language, but also the necessary communication skills. Mora 149 Mora asserts that a child can imitate the rhythm and musical contours of the language long before he can say the words, and caretakers of young children will agree. She says that musical aspects of language, tone, pauses, stress, and timbre are sonorous units into which phonemes, the consonant and vowel sounds of language, are later placed (Mora 149). Joanne Loewy proposes that language should be considered not in a cognitive context, but in a musical one, which she calls the Musical Stages of Speech (Loewy 48). It evolved from the work of Charles Van Riper, a founder of modern speech therapy. Infants begin with 1) crying and comfort utterances, proceed to 2) babbling, and eventually begin 3) acquiring/ comprehending words. All of these sounds developmentally prepare for the telegraphic speech that follows (Van Riper 87). Loewy's model specifies the mental, physical, and emotional developments at each level and offers specific techniques to encourage vocalizing (Loewy 49). Instead of thinking about language development from the first words, caretakers can follow a child's orientation to communication from the first utterances. Physicians can tell if an infant will have problems with speech by testing their production of cooing sounds, which are a precursor to Music and Language 7 and predictor of speech (Loewy 52). Prelinguistically, music serves as the carrier for communicative intent. The intonation contours within crying and babbling behavior have an emerging communicative purpose. These are the infant's "first audible expression of emotional need" (Loewy 51). Because there are no words involved, all of this communication comes through the musical elements of the cry. Loewy asserts that adults who wish to comfort children can sing in a child‟s tonality, modeling notes that resolve dissonant notes of distress (Loewy 53). Use of drums to encourage internal rhythm is also helpful (Loewy 55). An infant's preverbal communication through crying incorporates turn taking, pausing when her needs are met, and this builds a foundation for social interaction with peers (Loewy 67). With a solid background in crying, most infants soon move to babbling, which enables them to consciously experiment with prosodic elements of speech, such as tone, pauses, timbre, and stress.

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